Goya: “Invited Work”
Museo del Prado, Madrid1
9 January – 24 April 2016
For a period of three months, Room 34 of the Prado’s Villanueva Building is displaying Goya’s portrait of Don Pedro de Alcántara Téllez-Girón y Pacheco, 9th Duke of Osuna, one of the most interesting works by the artist among those housed in the Frick Collection in New York. The special loan of this work falls within the context of the Museum’s “Invited Work” programme, an activity sponsored by the Fundación Amigos del Museo del Prado since 2010 with the aim of further enriching a visit to the Museum and establishing points of comparison that allow for a reflection on the works in the Prado’s Permanent Collection.
Link to Press Release: 2016-02-Goya-Osuna-FrickToPrado
GOYA THE PORTRAITS
The National Gallery, Sainsbury Wing Theatre
Lunchtime Talks – Free, no booking
Courses – £14/£12 concession/£10 members
Thursday 29 October
Goya & the Duchess of Alba
Marcus B. Burke
Senior Curator, Museum Department, The Hispanic Society of America, New York
Course (Sainsbury Wing Theatre)
Thursday 12 November
Tutor: Aileen Ribeiro
£14/£12 concessions/£10 members
Professor Aileen Ribeiro of the Courtauld Institute of Art explores themes of costume and national identity in Spain, England and France during the late 18th and early 19th centuries.
Monday 16 November
The Altamira Family, Goya and Portraiture
Chief curator, The Frick Collection, New York
Saturday 21 November
Sainsbury Wing Theatre
Subversive portraits: Goya and his legacy
Speakers: Juliet Wilson Bareau, Emma Barker, Xavier Bray, Gill Perry and Yinka Shonibare
£25/£14 concessions/£10 members and OU students
Explore portraits by Goya and other artists in the context of Napoleonic Europe, and discover why Goya has been such a key figure for modern and contemporary artists from Manet to Jake and Dinos Chapman. Held in collaboration with the Open University.
Monday 30 November
Public faces, private views: Goya’s letters and the problem of portraiture
Visiting Fellow, University of Essex
Monday 21 December
Painted Cloth: Goya and Dress
The first exhibition in the UK to focus solely on Goya’s portraits. It will look at a wide range of works across his career, from official commissions depicting monarchs and generals through to informal images capturing close friends and colleagues. Among them, court servants in Madrid,such as Andrés del Peral (c.1797), who was appointed guilder to the court of Charles III in 1785, only a year before Goya’s own appointment as court painter. The exhibition will present new research on the artist and sitters by its curator Xavier Bray, Chief Curator, Dulwich Picture Gallery and ARTES member.
El Retrato en las Colecciones Reales de Juan de Flandes a Antonio López, exhibition, Palacio Real, Madrid, 4 December 2014 – 19 April 2015.
Paintings and sculptures produced for the Spanish Court. Includes Ribera’s Don Juan Jose de Austria on Horseback; and the contemporary group portrait of the present royal family by Antonio Lopez, which apparently took 10 years to complete.
Curators’ comments on selected highlights
360 degree views of 8 of the sculpted portraits
41st Annual Conference & Bookfair
Sainsbury Institute for Art, UEA, Norwich
9 – 11 April 2015
Portraiture and the Unworthy Subject in the Early Modern World
Paper proposal deadline: 10 November 2014
Session convenor: Carmen Fracchia, Birkbeck, University of London, firstname.lastname@example.org
In the early modern period, the production of portraiture was governed by restrictive conventions. According to the first European treatise on portraiture since antiquity (Francisco de Holanda’s Do tirar polo natural [On Taking Portraits from Life], 1548), the essence of the genre was the worthy sitter’s moral or intellectual prestige. Thus, the main function of the portrait image was to immortalise the worthy elite, with the implicit moral understanding that there could be no room for the portrayal of the unworthy subject. What are the political and visual implications of this belief about portraiture? What are the notions of human diversity that prevent the portrayal of undeserving subjects? How are these concepts negotiated in the production of the portrait image outside Europe?
This session aims to build on research by historians of art, literature and the colonial world, and work on slave narratives that illuminate the paradoxical nature of ‘slave portraits’ in the Atlantic World. It intends to explore a wider spectrum of what were considered ‘unworthy subjects’, and the complexity of the mutually exclusive categories of ‘portraiture’ and ‘undeserving subject’. It also seeks to tackle the oxymoronic categories of ‘self-portraiture’ and ‘unworthy subject’, and investigate how notions of human diversity might challenge the boundaries of traditional portraiture and self-portraiture.
Contributions are invited that address the portrayal of ‘undeserving people’ across different media and cultures in the early modern world, as well as the historical context of social inferiority and the ‘undeserving’ between the 15th and the 18th centuries.
– See more at: http://www.aah.org.uk/annual-conference/sessions2015/session24#sthash.8VY0zg3x.dpuf
Diego Rodríguez de Silva y Velázquez
Portrait of Juan de Pareja, 1650
oil on canvas
Metropolitan Museum of Art, New York